Illustrations
of Ernst’s assertive female characters by Dorothy Ashley do not offer the same
perspective. Fang (1996) suggested that “whether intended or not, illustrations
sometimes tell a slightly different or even contradictory story than the text”
(p. 134). Many of the illustrations in Fairy tales from the land
of the wattle by Ashley exemplify female figures in maternal,
spiritual, or nurturing roles.Suggesting that illustrations are also cultural
symbols that transmit meaning as effectively as written symbols, Meganck (2010)
researched the portrayal of female images in children’s literature between 2000
and 2010 and applied the categories devised by Goffman (1978) in his analysis
of non-verbal images of women in advertising to her study of picture book
illustrations. These categories included relative size (in relation to the
male), the feminine touch (caressing, nurturing), ranking and subordination.
This
suggests that the illustration may communicate more about the artist and their
beliefs about society and culture than the author. Kang (1997) stated that
visual images produced by the media affect attitudes, values, beliefs, and
behaviours (p. 980) and, by narrowing the breadth examined by Kang and applying
his statement to the print illustrations of Ashley, the connection between the
narrative and how Ernst’s text is depicted visually is significant.
Reeder
(2010) described Ashley’s illustrations in the following way: The fairies
that drift through the pages of Olga Ernst’s Fairy tales from the land of
the wattle (1904) have a more ethereal quality. Dorothy Ashley’s sketchy
drawings show semi-transparent, pretty creatures with big hair and flowing
drapery that hover amongst the native blossoms (22). The text, however,
indicates there is a disparity.
The
different perspectives of male and female appearance and their actions as
presented by Ernst and Ashley suggest that they may be reflecting their own
perceptions about gender. Schriber (1987) analysed 19th century American
culture by evaluating popular publications such as fiction and diaries as well
as education curricula and argued that the “ideological framework circumscribed
the lives of actual women and prescribed norms of conduct for them” (2–5).
Unfortunately rather than being a harmonious relationship between illustration
and text, the mixed messages may become confusing for the reader, who may find
the gender stereotyping in the illustrations overpower what is posed by the
text.
Ashley has added a sleeping child in front of the hearth in The fairy
of the vase (Ernst, 1904 p. 22). This character is not mentioned in the
story. She has chosen not to illustrate the more powerful image of the fairies
broadening their view of the world by venturing outside on a quest. The size of
the sleeping child also takes the emphasis away from the mantlepiece where the
action begins. The disparity between Ernst and Ashley’s interpretations suggest
that Ashley has interpreted Ernst’s textual meaning in a different way.
There
is no evidence that Ernst had any communication with the artist or the
publisher after she submitted the manuscript so the artistic interpretation of
story tale episodes are more likely to portray the perspective of the
illustrator or the pu
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